Home Pastimes; or Tableaux Vivants Part 13

This thrilling tableau represents a death struggle between an Arab standard-bearer and a French soldier. The Arab grasps the standard with the left hand, while the right holds a short cimeter at arm's length; his body is bent forward, right arm extended thirty inches front of the left, and eyes directed to those of the soldier, the countenance expressing firmness and excitement. Costume consists of a long white coat without sleeves, trimmed about the bottom with buff, open at the top, displaying the neck and chest; a heavy red sash wound around the waist; pants of light-blue, cut quite loose, and gathered in with a string at the ankle; shoes covered with red cloth; a turban on the head, the top of which is white, and around the bottom is wound a band of red and black cloth, with the ends falling over the shoulders; a belt and scabbard are fastened to the waist. The sword should be two feet long, four inches wide, and curve from hilt to point. This can be made of tin or wood, the scabbard of card-board or leather, and painted red. The French soldier's costume consists of blue coat, trimmed and faced with buff, gold epaulets, large gilt b.u.t.tons, white pants with stripe of red, red belt and long scabbard, hat with plume and long, straight visor. He holds in his right hand a long, straight sword, while the left grasps the standard. His body is bent forward, and faces the audience, the right foot extended front of the left thirty inches, the eyes fixed on those of the Arab, countenance expressing determination and rage. The staff on which the flag is fastened is seven feet long, with a gilt ball, crescent, and ta.s.sels at the top. The flag is made of three stripes, one of light yellow, and two of light red, with a black oval, with red tr.i.m.m.i.n.gs, in the centre. The flag should be unfolded so as to show the design, but gathered in at the centre by the hand of the soldier. Between these two figures are a French soldier and an Arab lying dead on the ground. Five feet behind this group, and at the right of the stage, are four Arabs, with long spears, charging on the same number of French soldiers opposite, who are holding their muskets in position, ready to repel the charge, their countenances expressing sternness, their eyes fixed on each other. Costumes are similar to those described. Spears can be made of wood, with gilt spear-heads. The skin of the Arabs must be stained light brown. The French soldiers should wear large mustaches. A slight quant.i.ty of smoke is seen floating in the background; the booming of cannon heard in the distance. The scene is illuminated by a red fire at the side of the stage. Music of a martial style.

JONATHAN'S VISIT TO HIS CITY COUSINS.

One Female and One Male Figure.

This comic tableau is one that can be produced at short notice, and without expense. The scene to be represented is a parlor furnished with sofa, chairs, carpet, pictures, table, and a melodeon, which is placed on the side of the stage. A sheet of music is resting on the rack, and a young lady is seated on the melodeon stool, body facing the audience, head turned to the back of the room, both hands raised, and eyes fixed on a young man, who is seated on the sofa in the background. Her body is slightly inclined from the young man, countenance expressing affright. She should be costumed in a showy silk dress. The gentleman's costume consists of striped pants, reaching within six inches of the foot, red straps, thick boots, ancient style swallow-skirted coat, short striped vest, ruffle-bosomed shirt, standing collar reaching to the ears, large bra.s.s chain and watch seals hanging from the vest pocket, large red silk handkerchief laid across the knee, and a low-crowned white hat in the hand.

Position is, seated on the sofa, one hand placed in the pants pocket, the other resting on the knee, body bent forward, eyes fixed on the keys of the melodeon, countenance expressing astonishment. The gentleman best adapted for this part is one who has a natural talent for performing in comedy. Light should be thrown on the scene from the lower end of the side of the stage, and of medium brightness. Music of a spirited character.

THE THREE GRACES.

Faith, Hope, and Love, now dwell on earth, And earth by them is blest; But Faith and Hope must yield to Love, Of all the graces best.

Three Female Figures.

This is a statuary tableau, and is represented by three young and beautiful ladies of about the same height and figure, with regular features and long hair. Their costume consists of a long white robe, worn with few skirts, and cut extremely low at the neck, sleeves five inches long, a mantle of white tarleton muslin worn across the breast, tied at the side, and allowed to trail on the floor; the hair arranged in braids at the sides of the head, ornamented with large beads, clasped with a silver band behind, and allowed to hang in short curls in the neck. The ornaments should be entirely white. The three ladies stand on a pedestal three feet high, and four feet in diameter; this must be covered with black or green marble paper, and placed in the centre of the stage. The centre lady stands facing the audience, with the right hand raised above the head; the left clasps the hand of the lady at the left side, who is looking into the eyes of the figure at the right, and rests her right hand on the shoulder of the centre figure. The figure on the other side stands in a graceful position, resting her hands on the shoulder of the centre figure, and looking into her face. The countenances of the three should express pleasure.

The light for the piece must be soft and mellow, and come from the side of the stage. Music low and plaintive.

THE GUARDIAN ANGEL.

Angels, joyful to attend, Hovering round thy pillow bend, Wait to catch the signal given, And convey thee quick to heaven.

One Female and One Male Figure.

This is a most pleasing tableau, and represents the good angel, in whose existence and controlling power there is scarce any one so rude as not to believe, attending a young boy, who looks reverently upward, to heed the admonitions of his celestial companion. The lady who personates the angel should be of good figure, tall and slim, with fine features, and light curly hair. Costume consists of a loose white dress, over which is worn a robe of white tarleton muslin; these should be cut quite low in the neck, and long at the bottom; sleeves long, and fitting tight to the arms; a wide mantle of tarleton muslin worn across the breast, and allowed to trail with the dress at the side. Large wings, formed of wire, covered with white muslin, and ornamented with spangles, must be fastened to the back of the waist.

The hair should hang in ringlets, and be encircled with a band of silver. The boy must be of small stature, good features, and have long, light, curly hair. Costume consists of a loose short frock, made of white cloth, trimmed around the collar and ends of sleeves with white lace; white breeches, white hose, white shoes, and a small satin sash about the waist. Both of the figures stand on a pedestal two feet high by three square, which should be covered with black marble paper.

The angel stands in the centre of the pedestal, the left hand resting on the boy's left shoulder, the right hand on his right shoulder. Her head is turned away to the left, the eyes fixed on the floor, the countenance pleasant. The boy stands a little to the right of the angel, arms crossed on his breast, head turned sideways, and slightly back, eyes fixed on the face of the angel. The crimson curtains, without the fairies, that are used in the tableau of the "Dancing Girl in Repose," may be placed over the group. The side curtains can be held up at the side by crimson bands. A curtain of white gauze, drawn across the front of the stage, will give a good effect to the tableau.

The light should be of medium brilliancy, and come from the front side of the stage. Music soft, and of a sacred character.

THE PYRAMID OF BEAUTY.

Beauty is as crystal in the torchlight, sparkling on the poet's page; Virgin honey of Hymettus, distilled from the lips of the orator; A savor of sweet spikenard, anointing the hands of liberality; A feast of angel's-food set upon the tables of religion.

She is seen in the tear of sorrow, and heard in the exuberance of mirth; She goeth out early with the huntsman, and watcheth at the pillow of disease.

Science, in his secret laws, hath found out latent beauty; Sphere and square, and cone and curve, are fashioned by her rules: Mechanism met her in his forces, fancy caught her in its flittings, Day is lightened by her eyes, and her eyelids close upon the night.

Beauty is dependence in the babe, a toothless tender nursling; Beauty is boldness in the boy, a curly rosy truant; Beauty is modesty and grace in fair retiring girlhood; Beauty is openness and strength in pure high-minded youth; Man, the n.o.ble and intelligent, gladdeneth earth in beauty, And woman's beauty sunneth him, as with a smile from heaven.

TUPPER.

Fifteen Female Figures.

This fine tableau contains fifteen female figures, who are arranged in the form of a pyramid. They should be quite young, of good figure and features. Their costume consists of a pure white dress, cut low in the neck, sleeves five inches long, a white satin sash about the waist, white shoes and hose, hair done up in a compact and tasty manner, and encircled with a wreath of myrtle, while a small bouquet of flowers is placed on the front of the waist. The pyramid must be first formed of boxes, fastened firmly together, and covered with white cloth; five ladies of the same height sit on the lower seat, four on the second seat, three on the third seat, two on the fourth, and one on the fifth and last. Each should be furnished with a garland of flowers fastened to ratan three feet long; these must be held in the hands of the ladies, making a complete network of flowers. The eyes should be directed straight forward, countenance pleasant. The lights for this piece are as follows: Just as the curtain begins to rise, a green fire should be gradually thrown on to the stage, and slowly moved off; at the moment it is leaving the picture, a red light steals over the faces of the performers; this shade vanishes in the same manner, and a purple light appears. This will give a happy effect, and can be accomplished by burning the fires in large boxes placed on pivots at the side of the stage, and by turning them at the proper time the different colors can be thrown on the stage; a few of the side or footlights may be burned at the same time, so that when the colored lights are leaving the stage, the figures will still be seen. Music accompanying the tableau, must be soft and plaintive.

CORONATION OF QUEEN VICTORIA.

Within that rich pavilion, High on a glittering throne, A woman's form sat silently, 'Midst the glare of light alone.

Her jewell'd robes fell strangely still-- The drapery on her breast Seem'd with no pulse beneath to thrill, So stone-like was its rest!

But a peal of lordly music Shook e'en the dust below, When the burning gold of the diadem Was set on her pallid brow!

Then died away that haughty sound, And from the encircling band Step Prince and Chief, 'midst the hush profound, With homage to her hand.

MRS. HEMANS.

Twenty Male and Ten Female Figures.

This magnificent tableau contains thirty figures, and, when exhibited with proper scenery and wardrobe, is one of the best of this collection. It should be used as a grand finale scene, and is arranged in the following manner: A number of gentlemen's costumes must be procured at a costumer's or a theatre. Ladies' costumes can be easily prepared.

At the back of the stage, at equal distances between the sides, erect a throne. First build a platform five feet long, three feet wide, and three feet high, with steps in front, all of which must be covered with crimson cloth and gold paper. Over the platform place a canopy made of purple cloth, and decorated with gold paper, cut to represent fringe. Cover the wall back of the platform with the same material, and in the centre place a large gold V; a large chair, trimmed with scarlet and gold, should be placed on the platform, and tiers of seats arranged on each side of the throne; these must form half circles, reaching to the centre of the stage at the sides. Seated and standing on the seats and platforms are the amba.s.sadors, dukes, earls, and officers, in their full dress. The queen dowager and other royal female personages are intermingled among them. The lord steward, and chamberlain stand near the side scenes in the foreground, while the extreme background is filled up by the queen's guards. Standing on the step in front of the throne is the archbishop, holding the crown. A little to the left stands Victoria, her body facing the audience, and bent forward slightly, head bowed, ready to receive the crown. At the other side of the throne stands Prince Albert, dressed in rich uniform. The ladies' costumes consist of rich silks and brocades, ornamented with gold lace, paste pins, brooches, &c.; the hair arranged to suit the taste of the performers, and encircled with a band of gold, to which fasten a colored plume. The attention of all should be directed to the queen. The archbishop's costume consists of a black robe, large white sleeves, white handkerchief, with square ends, hanging on the breast, and white wig. Queen Victoria's costume, if not procured at a costumer's, consists of a white satin or silk dress, with a long trail, and four flounces on the skirt, each flounce ornamented with a band of gold paper three inches wide, covered with open lace. The top of the waist and bottom of the sleeves decorated in the same manner. A belt of crimson velvet, covered with spangles and small paste pins, encircles the waist; the sleeves should be open, and fastened across with gilt cord, terminating in ta.s.sels, which fall on the arms; white kid gloves, bound around the top with a band of silver, ornamented with wax beads and spangles; a long ermine scarf should be thrown gracefully over the shoulders, and trail to the floor. The ermine can be imitated by inserting small pieces of black s.h.a.g in white cotton flannel. The hair may be done up in a neat coil, and ornamented with wax beads and gilt pins. A long white veil of lace is fastened to the back of the head, and allowed to trail to the feet.

The crown can be made of card-board, covered with gold paper and brilliant paste pins. The steward and chamberlain each holds a staff with a large gilt spear-head and ta.s.sels at the top. Costume consists of showy suits, similar in style, head covered with low-crowned Kossuth hat, ornamented with a gold band and white lace. The guards must be placed in the extreme background, on high platforms; they stand perfectly erect, and face the audience. The scene should be brilliantly lighted by lamps at the front and left side of the stage.

The booming of cannon is heard in the distance. Music of a majestic style.

THE BRIGANDS.

The gray morn Dawns on the scene; the sulphurous smoke Before the wind slow rolls away, And the bright beams of morning dance Along the spangled snow. There scattered arms, And lifeless warriors, whose hard lineaments Death's self could change not, mark the dreadful path Of the outsallying victors.

Sh.e.l.lEY.

One Female and Five Male Figures.

A scene representing a band of brigands in their mountain fastness, on the watch for plunder and rapine. The scenery in the background should resemble ragged rocks, made by fastening brown paper in a rumpled manner to a frame of wood, and shaded with light and dark-brown paints. This must extend two thirds across the stage, three feet from the extreme background. The sides should be covered with similar scenery. The floor is strown with small boxes, to give it an uneven appearance, and covered with buffalo robes. Two of the brigands are seated at one side of the stage, engaged in playing cards; one is reclining in the foreground asleep; another is leaning against the rocks, resting his arms and body on his carbine, while the chief is standing at the end of the ledge in the background, pointing with his right hand into the open s.p.a.ce beyond. Behind him stands his wife, to whom he is in the act of speaking, and directing her attention to the road in the distance. She is stooping forward, endeavoring to see the objects which he points out. The costume of the brigands consists of a frock coat ornamented with large gilt b.u.t.tons, and trimmed around the bottom with colored cloth; bright-colored vest bound around the front and bottom with fancy ribbon; black handkerchief tied loosely in the neck; knee breeches and hose, with a band of showy cloth around the top, fastened with a brilliant paste pin or silver buckle; low shoes; red or blue sash about the waist; high-crowned black felt hat, ornamented with red binding, wound in a spiral manner from the rim to the top of the hat, and a colored feather at the side. The coat can be decorated in a more profuse manner, if desired; each must be furnished with musket and pistols. The chief's dress should be of richer material, and more profusely decorated than the other characters. The wife's costume consists of a scarlet skirt, black velvet waist open in front and laced across with pink ribbon, a showy scarf tied about the head, the ends falling on the shoulders; the neck and arms ornamented with brilliant jewelry; a morocco belt encircles the waist, to which is attached a small dirk. The two card-players are looking at their cards, countenances expressing deep thought. The one who stands facing the audience looks to the floor. The one that is asleep should lie in a position so that the countenance can be seen, the head resting on the hand, eyes closed. The wife's position is, standing so that a side view of the countenance is had. The chief stands in front of her, and in the same position, but the head is turned around so as to face the audience; the countenances of both expressing curiosity and excitement. The face and other exposed parts of the persons of all the figures must be colored light-brown, and the men wear heavy beards.

The light for this scene should come from a red fire, burned in small quant.i.ties at the front side of the stage. No music will be required for the piece.